This paper argues that Oswald Spengler has an innovative philosophical position on the nature and interrelation of mathematics and science. It further argues that his position in many ways parallels that of Martin Heidegger. Both held that an appreciation of the mathematical nature of contemporary science was critical to a proper appreciation of science, technology and modernity. Both also held that the fundamental feature of modern science is its mathematical nature, and that the mathematical operates as a projection that (...) establishes in advance the manner in which an object will present itself. They also assert that modern science, mathematics and metaphysics all have their roots in the ‘mathematical’, whose essence is itself nothing numerical. (shrink)

The introduction to the second of a two-part special issue on Oswald Spengler. This section explores his philosophical reception by his Weimar contemporaries and presents new analyses of the philosophical features of his thought.

In The Decline of the West Spengler puts forward a type of philosophical anthropology, an account of the structures of human experiential consciousness and a method of “physiognomic” analysis, which I argue has dimensions that can be understood as akin to existential phenomenology. Humanity, for Spengler, is witness to the creative flux of “Becoming” and constructs a world of phenomena bounded by death, underpinned by the two prime feelings of dread and longing and structured by the two forms (...) of Destiny (Time) and Direction (Space). Human existence, Spengler argues, is future-directed and open in the sense that there is a certain degree of freedom in the ways in which humanity can actualize its existential possibilities. In the course of elaborating the existential implications of this future-orientation, Spengler introduces the concept of care (Sorge), the fundamental experiential structure. (shrink)

This paper argues that the recent renewal of interest in the philosophy of Oswald Spengler, particularly concerning its warnings of the imminent demise of Western Civilisation, is misplaced. Arguments concerning the accuracy of his predictions or cultural analysis have overlooked the necessity of evaluating the coherence of the philosophical system that Spengler used to generate and justify his speculative declarations. Such an evaluation indicates a number of apparent contradictions at the heart of Spengler’s historical model. The attempt (...) to resolve these contradictions has resulted in a sharp division of interpretation amongst Spengler commentators, into positivist and relativist camps. Neither interpretation, I suggest, is capable of rendering Spengler’s historical system coherent. It is therefore argued that Spengler’s philosophy is fundamentally flawed. (shrink)

Most commentators on Spengler's philosophy tend to focus on the details of his cyclical theory of world-history, according to which history should be understood in terms of the rise and fall of great cultures. I argue that Spengler's philosophy of history is itself an expression of his primary concern with philosophical analysis of the structures of human consciousness, and that an awareness of Spengler's account of the existential structures of subjective consciousness enables one to grasp the reasoning (...) behind some of the key features of his philosophy of history, such as his cultural isolation hypothesis and critique of Eurocentric historiography. I further argue that the way to access Spengler's theory of consciousness, and the ways in which it informs his philosophy of history, is via his critical engagement with the Kant character that recurs in the first volume of The Decline of the West. (shrink)

Spengler’s work is typically represented as speculative philosophy of history. However, I argue that there is good reason to consider much of his thought as preoccupied with existential and phenomenological questions about the nature and ends of human existence, rather than with history per se. In this paper I consider Spengler’s work in comparison with Heidegger’s history of Being and analysis of technological modernity. I argue that Spengler’s considerable proximity to much of Heidegger’s thought compels us to (...) reconsider the nature and scope of Spengler’s philosophical project. (shrink)

In his Vermischte Bemerkungen 43, Wittgenstein notices that he was also influenced by Oswald Spengler. The paper deals with the question of in which way Spengler influenced Wittgenstein’s late works and if it really was influence or only a coincidence of ideas. It is put forward that Spengler’s rather unknown philosophy of language influenced Wittgenstein’s philosophy of language, especially the concepts of family resemblance, antiessentialism, and language-game (Sprachspiel). A picture of the famous Neapolitan gesture of “negation” which (...) motivated Wittgenstein to give up the picture theory of language is also shown with an example taken from Andrea de Jorio, La mimica degli antichi investigala nel gestire napoletano, Napoli 1832. (shrink)

Haack classifies Spengler’s views on the end of science as what she terms annihilationist in that he forecasts the absolute termination of scientific activity as opposed to its completion or culmination. She also argues that in addition to his externalist argument that Western science, as cultural product, cannot survive the demise of Western Culture, Spengler also puts forward an internalist argument that science, regardless of the imminent demise of Western Culture, is in terminal decline as evidenced by its (...) diminishing returns. I argue against Haack that Spengler’s argument for the diminishing returns of modern science is in fact an externalist one, in that he locates the sources of science’s current decline outside the discipline of science itself, attributing them to a change in cultural attitude towards scientific endeavours. I further argue that Spengler’s prediction of the imminent end of science was directed specifically at pure science, and that he in fact held that applied science would continue to develop. I also take issue with Haack’s suggestion that Spengler’s views on science were outmoded at the time that he wrote them. (shrink)

In The Decline of the West, Spengler argues that cultures have lifecycles. Although he warns that the end of Faustian (western) culture is nigh, Spengler suggests that the death of the culture might be forestalled if a rapprochement can be brought about between the technologized powers of Reason and the remains of cultural life. This portrayal of Reason as a salvific force seems to contradict Spengler’s typical depiction of Reason as a violent anti-cultural force. This paper reconstructs (...) Spengler’s account of Reason as both killer and preserver of western culture and argues that in both roles it remains inherently violent. (shrink)

Oswald Spengler is best known as a philosopher of history. However, one can trace in volume one of his The Decline of the West a sustained consideration of philosophical issues pertaining to the nature and practice of science that I suggest can be considered to be a philosophy of science. Not only has Spengler’s philosophy of science been largely overlooked, so too has its peculiar fictionalist character. By elaborating on the fictionalist character of Spengler’s scientific views I (...) shall consider his work in comparison with that of Hans Vaihinger, a contemporary of Spengler and noted fictionalist with regards to science. This comparison not only supports my interpretation of Spengler’s philosophy of science as fictionalist, it also throws into relief the numerous affinities between the thought of two philosophers who are not usually associated, in particular with regards to their accounts of the origins of science in the structures of human consciousness. This fictionalist affinity in turn suggests the need for a wholesale reappraisal of Spengler’s philosophical outlook. (shrink)

The influence of Spengler on Wittgenstein's philosophical development is considered. The point of interest is in a significant methodological restructuring which it appears to have produced. After an initial over-enthusiastic reception, Wittgenstein is seen to object on some points which he attempted to emend in his own philosophy. Spengler's name disappeared inreworked manuscripts but traces persist in the Philosophical Investigations and an important section (§89-133) is found to be connected with it.

Most interpretations of Oswald Spengler’s _The Decline of the West_ offer a relativist or positivist reading of his philosophy of history, with the latter being the most common. This paper argues that any positivist account of Spengler’s philosophy of history is untenable, and that only a relativist interpretation is plausible. It differs from standard arguments for the relativist interpretation by arguing that Spengler’s philosophy be understood as a form of fictionalism. However, rather than dismissing the positivistic elements (...) of his philosophy of history, it argues that they form a separate (albeit fictional) philosophy of history within his relativist philosophy designed to serve a heuristic purpose. (shrink)

The Vienna Circle was an influential group of philosophers in the early 20th century. Its members were dedicated to do philosophy and to conduct research in accordance with the guidelines of the scientific world-conception. For some of them, Oswald Spengler was a dangerous antagonist due to the success and influence of his metaphysical philosophy of history in Der Untergang des Abendlandes and other works. In this paper, I will explore systematically the Circle’s critical reception of Spengler regarding his (...) methodological approaches, ontological positions, and political philosophy. I will, thereby, also evaluate the criticism brought forth against Spengler. (shrink)

This chapter outlines ways in which Wittgenstein’s opposition to scientism is manifest in his later conception of philosophy and the negative attitude he held toward his times. The chapter tries to make clear how these two areas of Wittgenstein’s thought are connected and reflect an anti-scientistic worldview he held, one intimated in Philosophical Investigations §122. -/- It is argued that the later Wittgenstein’s metaphilosophy is marked out against two scientistic claims in particular. First, the view that the scientific method is (...) superior to all other means of learning or gaining knowledge. Second, the view that scientific knowledge is superior to all other kinds of knowledge and understanding. Wittgenstein’s opposition to these claims is brought out through examining a fundamental aim of his later philosophy, producing the ‘kind of understanding which consists in “seeing connections”’ (PI §122), and his attempts to expose certain philosophical confusions. It is argued that these reflect his antiscientistic worldview. -/- Through discussion of Oswald Spengler’s influence on Wittgenstein, the chapter outlines how Wittgenstein’s opposition to scientism underwrites his negative cultural outlook and how this is connected with the anti-scientistic elements of his later philosophy discussed. The work of Ray Monk (1999; 1990) and Hans-Johann Glock (1996) is instrumental in what follows. (shrink)

The introduction to the first of a two-part special issue on Oswald Spengler. This section explores his international influence both in his own time and in the present day.

The history of early analytic philosophy, and especially the work of the logical empiricists, has often been seen as involving antagonisms with rival schools. Though recent scholarship has interrogated the Vienna Circle’s relations with e.g. phenomenology and Neo-Kantianism, important works by some of its leading members are involved in responding to the rising tide of Lebensphilosophie. This paper will explore Carnap’s configuration of the relation between Lebensphilosophie and the overcoming of metaphysics, Schlick’s responses to Schopenhauer and Nietzsche, and Neurath’s reaction (...) against Spengler. (shrink)

This paper subjects Dan Brown’s most recent novel Origin to a philosophical reading. Origin is regarded as a literary window into contemporary technoscience, inviting us to explore its transformative momentum and disruptive impact, focusing on the cultural significance of artificial intelligence and computer science: on the way in which established world-views are challenged by the incessant wave of scientific discoveries made possible by super-computation. While initially focusing on the tension between science and religion, the novel’s attention gradually shifts to the (...) increased dependence of human beings on smart technologies and artificial intelligence. Origin’s message, I will argue, reverberates with Oswald Spengler’s The Decline of the West, which aims to outline a morphology of world civilizations. Although the novel starts with a series of oppositions, most notably between religion and science, the eventual tendency is towards convergence, synthesis and sublation, exemplified by Sagrada Família as a monumental symptom of this transition. Three instances of convergence will be highlighted, namely the convergence between science and religion, between humanity and technology and between the natural sciences and the humanities. (shrink)

This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that (...) Wittgenstein's distinction between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw (...) inspiration and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

The chapter tackles the complex, tension-ridden, and often paradoxical relationship between relativism and conservatism. We focus particularly on radical conservatism, an early twentieth-century German movement that arguably constitutes the climax of conservatism’s problematic relationship with relativism. We trace the shared genealogy of conservatism and historicism in nineteenth-century Counter-Enlightenment thought and interpret radical conservatism’s ambivalent relation to relativism as reflecting this heritage. Emphasizing national particularity, historical uniqueness, and global political plurality, Carl Schmitt and Hans Freyer moved in the tradition of historicism, (...) stopping short of full relativism. Yet they utilized relativistic elements – such as seeing irrational decisions or the demands of “life” as the basis of politics – to discredit notions of universal political morality and law, thereby underpinning their authoritarian agendas. Oswald Spengler, by contrast, took the relativistic impulses to the extreme, interweaving his conservative authoritarianism and nationalism with full-fledged epistemic, moral, and political relativism. Martin Heidegger has recently been perceived as the key philosopher of radical conservatism, and his thought arguably channeled antimodern aspects of historicism into contemporary political thought. We conclude by analyzing how some radical conservative arguments involving cultural relativism and plurality still reverberate in contemporary theorists such as Samuel Huntington, Aleksandr Dugin, and Alain de Benoist. (shrink)

The way we experience, investigate and interact with reality changes drastically in the course of history. Do such changes occur gradually, or can we pinpoint radical turns, besides periods of relative stability? Building on Oswald Spengler, we zoom in on three styles in particular, namely Apollonian, Magian and Faustian thinking, guided by grounding ideas which can be summarised as follows: “Act in accordance with nature”, “Prepare yourself for the imminent dawn and “Existence equals will to power”. Finally, we reach (...) the present. How to characterise the new era we entered round the year 2000? (shrink)

The political actions of Martin Heidegger raise a compelling question to those concerned with philosophy: How was one of the most important philosophers of the 20th century willing to ally himself with Nazism and what does this mean for philosophy? This question has been raised and brushed aside from the end of the Second World War, when Heidegger was formally accused for his involvement with Hitler's regime and forbidden to attain any official teaching position henceforth. Important thinkers, like his colleague (...) and friend in the pre-war years, Karl Jaspers. testified then against him. But Heidegger's fame rose again above his indignity in the 1950s, when Hannah Arendt in the USA and Jean-Paul Sartre in France, among others, began once again to spread the word of his philosophy and translate his works. These problems have recently intensified after the posthumous publication of Heidegger's Black Notebooks (Schwarze Hefte) in 2014, containing his notes from 1931-1941. Their publication caused seismic tremors in the field of philosophy, with Heidegger's opponents considering themselves finally vindicated by his own pen, and his supporters trying to separate thinking from actual life. However, the influence of Heidegger's thought - as well as that of other representatives of German anti-humanist nationalistic conservatism, such as Oswald Spengler - continues to spread, not only in academic but also in broader social and political circles. In the face of this spreading influence, which is combined with the influence of some disciples such as Nick Land or Giorgio Agamben, a biographical-type confrontation is not enough. We should confront Heidegger directly at the core of his philosophy. We cannot afford to ignore him or bury him under superficial gossip. Instead, we should confront him philosophically. We might be able to clear the ground for such a confrontation, if we resort to the philosophical concepts of autonomy, temporality, and human freedom. In my opinion, the most important philosophical challenge to Heideggerian thought, in this context, has been expressed by Cornelius Castoriadis. In the following chapters, I will argue in favor of this position, outlining the Castoriadian philosophy of time in contrast to the Heideggerian and highlighting the main points of their opposition. The book is divided into two parts. Part one, "Castoriadis against Heidegger" deals with the basic concepts and arguments of both philosophers around human existence, the individual, society, and temporality. We start by presenting Heidegger's scandal in the social-historical context but also with the help of Hannah Arendt's last assessment of the thinker. We move on to outline the basic concepts and structures of Heidegger's philosophical thinking in parallel with Castoriadis' criticism as regards politics, ontology and technoscience. Part two, "Time and existence" first examines the relevant approaches of Lukacs and Ricoeur in comparison to Heidegger and Castoriadis, to elucidate the basic concept of temporality and then presents an outline of Castoriadis' insights on time and existence, before finally applying these concepts to contemporary social-historical phenomena that redefine and transform human existence and social temporalities, like space exploration, digital cyberspaces and online communications. //////// -/- "This book is a tour de force that excites those who agree or disagree with the philosophy of Heidegger. With clarity and sophistication, Schismenos revives the public debate to reveal the rich possibilities for another world. A must-read for everyone interested in a philosophy that matters." - VASILIS KOSTAKIS - Professor of P2P Governance at Tallinn University of Technology and Faculty Associate at Harvard University -/- . (shrink)

In this essay Ernst Cassirer addresses two currents of the philosophical reflection about man and culture that emerged at the end of the 18th century. Th e naturalistic one, conceives of man and culture as an outcome of the processes that takes place beyond the reach of human will and consciousness. Among such naturalistically oriented philosophies Cassirer includes Hegel’s idealism, Taine’s positivism and Spengler’s psychologism. All of them imply a characteristic kind of historical fatalism. In opposition to such a (...) deterministic vision of human development stands a philosophy that emphasizes the importance of individual decision and responsibility for the course of history. Cassirer names it “humanistic” as it places man in the very middle of its research. The initiators of this tradition were Johann Gottfried Herder and Wilhelm von Humboldt, foremost representatives of the German romantic movement. The philosopher who took up their humanistic thought and elevated it to the importance of a distinct knowledge was Wilhelm Dilthey. While bearing in mind who is the real creator of culture all these thinkers pay special attention to the question of man’s responsibility for culture as well as for himself. The problem of human responsibility that totally escaped the attention of naturalistically oriented philosophers is somehow a distinguishing characteristic of all humanistic philosophies of culture. (shrink)

In recent years, philosophers have used expressions of Wittgenstein’s (e.g. “language-games,” “form of life,” and “family resemblance”) in attempts to conceive of the discipline of philosophy in a broad, open, and perhaps global way. These Wittgenstein-inspired approaches indicate an awareness of the importance of cultural and historical diversity for approaching philosophical questions. While some philosophers have taken inspiration from Wittgenstein in embracing contextualism in philosophical hermeneutics, Wittgenstein himself was more instrumental than contextual in his treatment of other philosophers; his focus (...) in his writings was on his own philosophical problems. Does this mean that Wittgensteinian philosophy is a poor resource after all for comparative, cross-cultural, or globally-engaged philosophy (i.e. if it is properly Wittgensteinian)? In this article, I examine the relevance of Wittgenstein to contextually-sensitive philosophy through studies of his conceptions of history and culture, his interest in Spengler’s philosophy of history, and recent scholarship by Hans-Johann Glock and Hans Sluga on the place of contextualism in Wittgenstein’s analysis of philosophical problems. Ultimately, this article advances the view that there are strong resources in Wittgenstein’s philosophy for those seeking a more globally-engaged approach to the field. (shrink)

I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of (...) vertically interrelated language-games which facilitate Menschenkenntnis. (shrink)

The title of the book was chosen due to inspiration from Nietzsche’s famous book ‘Beyond good and Evil’, which has marked an unprecedented turning point in the history of philosophy. Hence, the book titled ‘Beyond Civilization and History’ is intended to outline the politico-historical debate, since the dawn of the 20th century. The discussion in the book will cover pre-modern, modern and post-modern discourse of the history of civilizations. The debate mainly focuses on the modernist and post-modernist historical context especially (...) surrounding the writings of Oswald Spengler, Norman Angell, Arnold J. Toynbee, and Alexander Dugin. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

Alexander Raven Thomson was a British fascist philosopher, active from 1932 to 1955. I outline Thomson’s Spenglerian views on civilization and decline. I argue that Thomson in his first book is an orthodox Spenglerian who accepts that decline is inevitable and thinks that it is morally required to destroy civilization in its final stages. I argue that this suffers from conceptual issues which may have caused Thomson’s change to a revised form of Spenglerianism, which is more authentically fascist. This authentically (...) fascist view is then seen to fall prey into the problem inherent in the very idea of permanent rebirth. (shrink)

In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was sure (...) to be misunderstood. (shrink)

This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary music (...) and the music of the future. (shrink)